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German Music

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« Reply #45 on: March 18, 2014, 04:47:35 pm »

Dietr Acker: Symphony 1 "Lebenslaufe" (1977-8)

From the collection of Karl Miller

Symphony 1 "Lebenslaufe"
Bavarian Radio Symphony Orchestra/Dieter Cichiewicz
Radio Broadcast

From BachCantatas.Com
Born: November 3, 1940 - Sibiu, Romania
Died: May 27, 2006 - Munich, Germany

The German composer and pedagogue, Dieter Acker, was born in Sibiu, Romania of German parents. He studied piano, organ, and theory with Franz Xaver Dressler in Sibiu (1950-1958), then composition with Sigismund Todutza at the Cluj Conservatory (1959-1964),

After finishing his studiesm Dieter Acker taught theory and composition at the Cluj Conservatory (1964-1969). He then settled in West Germany and taught at the Robert Schumann Conservatory in Düsseldorf (1969-1972); he joined the faculty at the Munich Hochschule für Musik in 1972, where he was a professor of composition from 1976.

Machine Translation of Reviews of the First Symphony from the Acker Website at

Symphony No. I ("Curriculum vitae", 1977 / 78)

Sometimes it happens that behind the folds of the pretty stale "Musica - Viva - concerts" in Munich lost a friendly smile. Dieter Acker, the 39-year-old Harald Genzmer successor as Professor of composition at the Munich Academy of music, was responsible for this time. His Symphony No. I titled "Curriculum vitae" is expressive, Mahlerian dimensions be summoned. On different levels of instrumental romp a myriad of thoughts, making arable but easily done. The bushes always permeable.

The naive honesty of this musical resumes disarmed. (vb)

...ein highly expressive work...The three movements are a serious one: in the ductus in Sonic density, in the interpretation.

...Acker fondness for swirling sounds for the grotesque, deep bass, Glissandi and shrill trumpets, sound volume and Ambitus remain in the memory. (K.R.Brachtel)

It was looking forward to the premiere of the first Symphony by Dieter Acker. ...da step meaning pregnant huge brass choirs, because conversations between the soloists of the Orchestra spin, so to speak on SideShow, chatter loudly woodwind and sighing heavily the strings. Is the climax of the first movement a kind of "Breakthrough" - to new horizons? Fine Zieseliertes characterizes the second sentence ("delicate and transparent")..., the third then brings the final on Gipfelung in the symphonic drama.

Field can bypass audible with the Orchestra, he has a keen sense for effective sound layers, also for "grateful" orchestral parts. (W.Schreiber)

...His Opus stands out strikingly from the cosmopolitan egalitarianism of much of modernist productions...

"The days of new music in Hanover final concert"

...The Symphony works with all "materials" of the huge modern Symphony Orchestra. No doubt, field has an accurate knowledge of orchestral instruments and know how they as can be used effectively.

The Symphony has failed, is serious, powerful, and testifies to honest craftsmanship. (E. Limmert)

The Munich-based composer Dieter Acker has a heart for the listener.

He understands the Orchestra - all over the world as in groups and parts - so to deal with it,

Repertoire - that the factory might have prospects.

...Are here (Henze) the instrumental skills of each individual required down to the last, so this also applies to Dieter Acker Symphony recorded with great audience approval. (R.Hollmann)

THE WORLD (04.02.1982)
...Arable composed, rather than against the Orchestra. He shares the nerve for the "language" of instruments and the compatibility or incompatibility of their characters with Berlioz and Strauss, without however in the programmatic or illustrative. But he has the audience in mind: this may is lucky, not only to read musical progressions and developments, but also listening to play with. (Lesle)

The world, the he (Acker) builds by symphonic means is not a degradation product (Kirchner / Symphony), but original. Acker's three-movement Symphony works with shapes, figures and gestures, which are observable birth and growth: triumph of the goethean development idea, which for decades was faded in the rigging of serial predisposition, specific solidification or full-field condition descriptions. The records a story ever own by Red threads and no longer impose the listeners as he can retain and recognize. (Lutz.L)

First Symphony by Dieter Acker ...die was heard in an impressive interpretation: she a Mahlerian intensity music demonstrated... a work with the field has reached a stage of unzweifel-cash Cup.

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